The Nikon Total Digital
Imaging System:
Let your imagination be your guide
Nikon is proud to bring you its latest incarnation
of the Nikon Total Digital Imaging System, full of
photographic excitement, answers and inspiration.
Within these pages you will find everything you
need to realize your present ideas and inspire new
ones. Whether you are a seasoned professional or
a passionate weekend shooter, we are confident
that the contents of this brochure can help you craft
better images. Every item is designed specifically
to work with Nikon cameras, which means a
seamless performance that truly brings out the
best in you and your Nikon D-SLR. Got an idea?
Make it happen. Here’s where you start.

Why more light?
Nikon Creative Lighting System:
Easily accomplish studio quality photographs virtually anywhere
It’s easy to understand the need for a flash in low-light
shooting scenarios, but Nikon Speedlights are also
extremely helpful in daytime situations with bright sunlight
and deep shadow. The additional light helps cameras
capture what our eyes see so well. It’s easy to forget that
the human eye is a remarkable optical instrument, registering levels of contrast between highlight and shadow
impossible for cameras to detect. With additional light
at your command, you can fill in the shadows and reduce
the contrast you see to within the range that your
camera’s image sensor can record. The camera’s built-in
flash is often suitable, but the direct, frontal light can be
too harsh for fine detail, leaving some images with flat,

A model in shadow against a bright
background photographed
without Speedlight. Matrix
metering. No exposure
compensation. Exposure
is well balanced, but the
picture lacks impact.

overexposed areas. A simple wireless, off-camera flash
from the side, however, provides added depth as well
as smooth, rounded tones from highlight to shadow (as
shown in the center picture below). Perhaps the most
powerful argument for additional light is aesthetic: one or
more strategically placed Speedlights can transform the
mood of your photograph in ways available light is unable
to. Speedlights can quickly and easily turn taking snapshots
into creating images that reflect the original meaning
of the word “photography” — drawing with light. Turn
wherever you are into your own personal studio. Working seamlessly and wirelessly with your Nikon D-SLR, the
Nikon Creative Lighting System makes it easy.

The same model photographed
with one off-camera
Speedlight. Notice the
richer, more saturated
color. The Speedlight
fired from camera left in
an angled position (45˚)
to create depth.

Adding a second Speedlight from
above and bouncing it off
of a reflector from below. Strong shadow
from the model’s
neck is removed.

Opposite page: A third Speedlight is employed here from behind the model.
Attached to the supplied Speedlight stand on the ground, The Speedlight’s flash
head is tilted 45˚ upward. This third light creates the shimmering light around
her hair and shoulders and helps separate her from the background.
4

Beautiful soft light
bounced off a wall
“Kids have their own agenda, even
while I’m shooting,” says child photographer Kathy Wolfe, “one of the key
principles of photographing children is
speed.” Wolfe has to find quality light
fast or quickly create her own when
needed, such as when in a low-lit room
while her child models remain

Wireless remote flash from the right side of the camera
erases unwanted shadows cast on the wall by the
window light from the left.
6

See what just one Speedlight can do
cooperative. The light and remarkably
portable Nikon Speedlights are always
in her camera bag. How she works with
the Nikon Creative Lighting System
(CLS) is simple but what she gets is significant. She tilts the flash head of a hotshoed Speedlight toward a white wall
for a bounce-flash effect. This simple
act can transform harsh light into a soft,
smooth glow. Any large, white surface
can act as an impromptu light-softening
device — a simple technique that results
in richer colors like those you see here.
Wolfe almost always uses the i-TTL
flash mode. That way the innovative
Creative Lighting System calculates ideal
flash exposures for her automatically,
frame after frame, allowing her to
concentrate on capturing the moment.

One strong light from
outside a window

The Speedlight’s flash bounces off the large white wall
behind the photographer, wrapping this low-lit room
with soft light.

On-camera bounce

World-renowned photojournalist Joe
McNally has some advice when taking
pictures. “The most important thing is to
first see the picture in your mind’s eye,”
he says, “Everything comes naturally
from there, such as where to place the
camera and how to light your subject.”
While shooting high-school athletes in a

locker room, Joe envisioned a picture of
his subject in golden, late afternoon light.
To create the right environment, he positioned a camera low using a wide-angle
lens. Then, he placed one Speedlight outside the window, distanced far enough to
create deep shadows across the lockers.
Using a Color Filter in order to warm the
light appropriately and zooming the flash
head to 200mm to concentrate the light
on the athlete, McNally recreated the
shooting situation that he’d first constructed in his imagination. The picture
above looks like it was taken in the natural
light of a late afternoon, but in actuality
was shot using a Nikon Speedlight,
helping to maintain “Golden Hour”
lighting for as long as desired. With just
one Speedlight, the level of nuance to
explore is astounding.

Secondary flash from
behind for a beautiful
halo of light
“In order to capture important events as
they happen without distractions, a wedding photographer must be flexible and
unobtrusive.” Helpful words from Cliff
Mautner, one of the profession’s most
respected practitioners. How he uses
the Nikon Creative Lighting System is

Main light from the camera’s left illuminates the bride’s
face. A second light from behind the subject reveals
details in the veil.
8

Magnify your potential with multiple Speedlights
both simple and strategically effective.
All he needed to create texture, dimension and mood in the image above was
an off-camera flash fired from the left
side of the frame. Wireless control and
i-TTL make it easy. To get soft light in
situations where reflectors or a white
ceiling are not an option, Cliff tilts the
flash head 90 degrees upward — or
even backward — to “feather” the light,
softening a harsh flash to fit the scene
beautifully. This way he adds just the
right amount of light to show the clear
ridge of the bride’s profile in the picture
above. To open up the shadows in the
bride’s veil, he introduces a second light
from behind. This is set in a different
group than the main flash, which means
that he can turn it on and off fro m his
camera seamlessly, and without disturbing his subject.

Small, precise lighting
around the subject to
reveal detail

One remote unit is handheld by a photographer’s
assistant at an angled position, creating texture and
dimension.

Speedlight group A

Speedlight group B

SU-800 on-camera commander

“I am addicted to light. It never stops
surprising me,” says still life photographer
Yves Paternoster, “It truly is a game of
inches, changing the look and mood of
my pictures depending on where I place
it.” As a studio shooter, Paternoster likes
to take the kind of light you find outdoors
and use it inside a studio environment,
replicating natural light by creative use
of flashes. The Close-up Speedlight
Commander Kit R1C1 does this and
more. “It makes me creatively brave,”
he says, adding “Well, I feel that it
can make anyone
creatively brave.”
The SB-R200 flash
units that work with
Taken with one Speedlight

the SU-800 are small and wireless, so
photographers like Paternoster can play
around with light freely by handholding
the unit in different positions to get
exactly the effect they want. Although
he was satisfied with a particular flower
picture taken with a single flash unit, he
decided to explore different possibilities
by introducing a second light source.
What he did was simple, but what he
achieved was a powerful new alternative shot, as you can see above. While
intuitive control is a big advantage of
the system, the ability to control light
precisely — as required in normal studio
lighting — is of great importance. As
you can see from the picture on the
right, the R1C1 plus three additional
SB-R200 units let you illuminate exactly
where you want on very small objects.
The system is like a portable pocketsized studio, but the level of precision

Just the right amount of light for well-balanced foreground
and background exposure

Create a sense of motion with intended blur

Incredibly useful in varied or unpredictable lighting, the
innovative i-TTL system delivers consistently accurate flash
exposures automatically. Whenever your Nikon digital SLR is set
to either 3D color matrix metering II or center-weighted metering, your Speedlight automatically readies i-TTL to
deliver balanced fill-flash. In this mode, a monitor
pre-flash fires microseconds before the actual
flash, accurately informing the Speedlight on the
latest scene information. Even for difficult scenes
such as backlit subjects, the flash comes through
The same scene taken without flash
with well-balanced exposures across the frame
and avoids overexposing the subject.

When shooting a portrait under harsh lighting such as the
noonday sun, the lighting conditions may force you to use f/11
or an even smaller aperture, which may not render the portrait
you’re looking for. Auto FP high-speed sync lets you move past
your camera’s normal sync speed of around 1/200 or 1/250 second
to shoot at much faster shutter speeds — as high
as your camera is capable of — enabling the use
of larger apertures such as f/2.8 for a beautifully
shallow focal plane, which looks great in portraits.
High-speed sync also works when stopping action
at high noon.

When shooting a dimly lit scene with available light, a fast
normal sync speed such as 1/250 second will expose your main
subject but cannot properly expose the surroundings. If you use
a shutter speed of 1/30 second or slower in any of the camera’s
exposure modes, the ambient illumination will be more naturally
balanced.

When using rear-curtain sync mode, a flash fires at the very
end of an exposure instead of at the beginning. When you are
shooting at 1/30 second or slower, the image sensor soaks up
the available light. Then right before the shutter closes, the flash
fires to illuminate the main subject. As the name Speedlight
implies, the flash fires very quickly, freezing the action of your
main subject. Apply this to a moving subject, and the effect is
eye-catching, giving the viewer a sense of movement through
the combination of sharp features and intended blur.

The FV lock helps you maintain the same flash value for correct
exposures during a sequence of photographs. This allows you
to zoom in on your subject, change the composition or adjust
the aperture, all without altering your intended exposure. The
pictures here were taken using FV lock. Notice
how the flash output value remains the same,
even when a highly reflective surface (of the train)
enters the frame. This way you can concentrate
on capturing your subject without worrying about
adjusting your subject’s lighting.

While many shooters praise the incredible power of Nikon’s high
ISO performance, it is worth noting the important difference
between quality of light and quantity of light. While a high ISO can
increase your shooting power in situations with a low quantity of
light, high ISO alone cannot improve the quality of light. This is a job
for Nikon Speedlights. A simple flash can open
up the shadows across a model’s skin and draw
our attention to her face as the photographer
intended. A Speedlight working together with
high ISO also allows you to illuminate faraway
subjects with straight or bounce flash.

R1C1: Close-up Speedlight Commander Kit (SU-800, two SB-R200s and all
the accessories)
R1: Close-up Speedlight Remote Kit (Two SB-R200s and all the accessories)

Two SB-R200 units are included with both the R1C1
and the R1. Each unit features a guide number of 10
(ISO 100, m) or 14 (ISO 200, m). When attached to a
lens via the SX-1, the flash head can be tilted up to 60
degrees toward the optical axis of the lens or up to 45
degrees away.

• Functions as a master or remote flash unit in Advanced Wireless Lighting
• Controls an unlimited number of Speedlights for up to two groups
• Offers four independent channels of wireless control up to 10 m for competitive
shooting environments
• Power zoom covers wide 24-120mm zoom range (Manual also available)
• AF-assist illumination for multi-point AF compatible with Multi-CAM 4800DX
autofocus sensor module to cover a 24-135mm focal length
• Three illumination patterns to match shooting environment: standard, centerweighted for portraits and even for group or wide shots
• Automatically selects suitable light distribution for Nikon FX and Nikon DX formats
• When using a supplied filter SZ-3TN or SZ-3FL, SB-700 automatically identifies the
mounted one and adjusts camera’s white balance
• User-applied firmware update function via a D-SLR
• Short recycling time
• Thermal cut-out with a built-in temperature sensor
• Quick wireless control mode [When the SB-700 is set as a master flash unit (serves
as a commander mode only), light amount ratio of two remote flash unit groups
can be easily set]
• Various flash modes and flash controls for D-SLR users

• Up to three remote groups and four channels using SU-800 as a commander and
SB-R200s as remote units can be arranged to enable creative lighting from the left,
right, above or below your subject
• Settings are easily made and confirmed on the SU-800’s LCD panel from the
camera’s position
• SB-R200 units can be tilted up to 60 degrees to accommodate lenses with short
working distances

Wireless Speedlight Commander

SU-800

* There are limitations to usable lenses.

Also available as a separate unit
for D3 series, D700, D300 series, D7000, D90, D5000,
D3100, D3000
Placed atop your Nikon D-SLR’s hot shoe, the SU-800
acts as a commander for as many Speedlights as you
desire.

Attachment Ring SX-1
Can hold up to four SB-R200 units on
the lens or up to eight off camera.

Extreme Close-up Positioning
Adapter SW-11

R1C1/R1 Accessories

For centering the light from the SB-R200
flash to an optical axis, which is especially
effective in close-up shooting.
Recommended for shooting distances
within 15 cm (lens to subject).

Diffuser SW-12
This milky-white panel diffuses light
from a flash and softens shadows.

Speedlight Stand AS-20

Adapter Rings

IR Panel for Built-in Flash
SG-3IR

Color Filter Holder SZ-1

Color Filter Set SJ-R200

Cases

Flexible Arm Clip SW-C1
Allows attachment of items such as a
diffuser. Can be attached to the guide
groove of the Attachment Ring SX-1.

The SC-28/SC-29 makes off-camera TTL
flash control easy and assured. With the
Nikon D-SLRs, the SC-29 also works as an
external AF-assist illuminator.

The AS-15 is compatible with cameras such
as the D7000, D90, D5000, D3100 and
D3000, which feature standard ISO-type
accessory shoe but lack a sync terminal for
large studio strobes.

Not only does the SK-6/6A enable you to
use the camera-mountable SB-900 as a
grip-type flash, it also offers you remote
flash capability. Used as an external power
source or in combination with the
Speedlight’s own power source, the
SK-6/6A reduces minimum recycling time by
nearly half while doubling the total number
of flashes available.

The SD-9 is an external power source for the
Nikon Speedlight SB-900. It can hold up to
two sets of four R6/AA-size batteries, ensuring a stable power supply for the SB-900,
greatly increasing the number of flashes,
and reducing recycling time.

* Product name varies according to region.

13

The Concept
Innovative i-TTL flash control
Working photographers around the world are discovering how
the Creative Lighting System (CLS) brings simplicity and realworld usability to both multiple-flash and single-flash photography. At the core of the innovation are Nikon’s i-TTL flash control
technology and the precision monitor pre-flash, which work
together for accurate flash exposures. Here is how multiple
wireless lighting works: with i-TTL mode activated, the master
Speedlight that is hot-shoed to the camera will send signals to
remote units, ordering them to pre-flash the scene. Through the
lens, the camera analyzes what it sees in the scene, constantly
adjusting the pre-flash output of independent remote units.
Once it measures the correct exposure for the entire scene,
it determines the flash output value — all from the centralized
point-of-view of the camera. In nearly any lighting situation,
i-TTL flash control will perform all the complex lighting calculations for you. The precise feedback information from Nikon’s
exclusive monitor pre-flash registers everything from available
light and shadows to color temperature and reflective surfaces
within the scene. The camera also integrates information from
its built-in database of over 30,000 actual scenes to determine
the ideal exposure. All of this happens within milliseconds
before each shutter release. Whether on top of a camera or
used as a wireless remote unit, CLS
offers the most dependable and consistent flash exposure in the business.

Speedlight Compatibility
Advanced Wireless Lighting — intuitive, fluid operation of
multiple remote Speedlights
One of the greatest benefits of CLS is that
controlling multiple Speedlights is just as
easy as controlling a single, on-camera
Speedlight. What’s more, the system is
wireless, so setting up your Speedlights
can be done quickly and smoothly no
Control all from the LCD
matter where you’re shooting. From the
panel of your master
Speedlight. Set the flash
master Speedlight connected to the hotmode, turn Speedlight
groups on or off and
shoe of your camera, you can control the
control the flash expoflash output of up to three groups of wire- sure compensation for
less remote flash units, adding any number up to three Speedlight
groups.
of Speedlights to each group. Simply set
everything to Nikon’s exclusive i-TTL for
accurate exposures in diverse lighting situations. You can also
explore alternate exposures by using the master flash unit to
adjust the flash exposure compensation of individual Speedlight
groups. Turn off any of the Speedlight groups, or for more direct
control you can fluidly switch from i-TTL to manual. All operations can be achieved easily via the LCD panel on the master
Speedlight, and all of these are possible without ever leaving
your camera. Multiple Speedlight control has never been this
intuitive or fluid. No other lighting system comes close.

Color Control Points for intuitive image enhancement
One of the features that makes Capture NX 2 crucial software
for photographers is Nikon’s Color Control Points, which simplify image enhancement while enabling photographers with
unmatched image processing freedom. Instead of complicated
layering and memorization, with Capture NX 2 you simply
place a Color Control Point wherever you want to reprocess.
Using the Color Control Point’s slider controls, you can adjust
hue, saturation, brightness, contrast, red tone, green tone, blue
tone and image warmth. The selection can then be applied
within a designated area for the color you need. Simply click,
slide and adjust: a wonderfully visual experience. This intuitive
system makes both subtle and radical changes possible in seconds. You can also craft customized color wheels and preset
color settings to save extra time and effort. Compose a selection and change it at will, or make multiple settings with Color
Control Points and watch how the software responds to help
you achieve exactly what you want to see!

Color Control Points
Size
Brightness
Contrast
Saturation

In addition to the sliders indicated at left,
there are sliders for Hue, Red, Green, Blue,
and Warmth. You can choose to display BCS
(Default), HSB, RGB, or All mode, and adjust
images to suit your purposes.

NEF + Capture NX 2 — Get the
highest quality from your images
The power of NEF

16-bit processing throughout for high-quality NEF

As a pioneer in RAW image file development, Nikon has
incorporated its exclusive and highly versatile NEF (Nikon
Electronic Format) system into every D-SLR since the first
D1. Consider NEF files to be the link between your Nikon
camera and Nikon’s Capture NX 2 software. Each NEF image
you shoot contains a thumbnail image and your camera, lens
and Speedlight settings, which the software recognizes and
applies just as you did when you created the image. The
exclusive Capture NX 2 concept also ensures that the image
data in each file remains intact: use NEF and you can always
return to the original image’s maximum possible quality. If
you’ve made changes to the image using the software, those
settings are also stored in the NEF, which is capable of holding countless versions of the same image. Creativity doesn’t
end after the shutter clicks. With NEF and Capture NX 2, it is
only beginning.

Photographers today utilize a variety of file formats, but
Nikon’s NEF offers capabilities far beyond the reach of the
others. NEF files give you an unprecedented level of versatile
and creative options. For example, thanks to 16-bit processing, the incredible versatility of the NEF format and the power
of the Capture NX 2 software, you can reveal shadow detail
and enhance sharpness in ways unattainable with other
formats. These files can also be easily converted into JPEGs
and TIFFs for printing and publishing. Capture NX 2 also lets
you convert your TIFFs and JPEGs into NEF files for added
creative choices without deteriorating image quality. Saving
these or even scanned prints as NEFs allows you to keep a
copy of your originals without needing to hold onto numerous
versions, which frees up valuable storage space.

This function enables you to apply enhancements such as
Unsharp Mask or D-Lighting to a specific area with just a
click of the mouse. There is no need for precision selection
or masks — the Selection Control Point recognizes the areas
you want to modify. Any enhancement effect you create
can easily be adjusted, and can be applied to either the
designated area or to everywhere outside that area, just like
with intuitive masking. The Selection Control Point can be
used with virtually any image enhancement tool, including
D-Lighting, Brightness, Color, Focus, Correction, and Noise
Reduction. For example, you can apply Unsharp Mask to
only the area you want to edit if you like.

Distracting blemishes and other imperfections in your pictures
can be effectively removed without compromising the color
or integrity of your image. Simply click and drag over a spot
caused by dust on the camera’s sensor, for example, and it
disappears. You can also make creative changes, such as
removing unwanted facial details or other distracting elements
in a picture. It’s important to remember that just like color
enhancements, each retouching effect you enact here is also
non-destructive, giving you great freedom to pick and choose
retouching actions and determine exactly what is best for your
picture without worrying about spoiling the original.
Before

Quick Fix selections
Click on the Quick Fix Header and a
selection of tools appear for fast first
adjustments. With NEF files you can:
alter contrast; adjust Exposure Compensation with a ±2 stop range; apply
protection to highlights and shadow
areas and modify color saturation. All
fast. All without damaging the original
file.

Batch Processing
Preset editing information can be applied to all image data in a
selected folder.
Vignette Control (Nikon D-SLR only)
Easily and visually minimize the appearance of vignetting in your
pictures by brightening the corners of the image. The tool can
both brighten and darken, allowing you to apply a vignette effect
where it didn’t exist, for creative purposes.

Distortion Control
Reduces pincushion and barrel distortions that are sometimes
visible in images.

For more efficient workflow
Edit List — easy-to-operate multiple image
processing adjustments
Capture NX 2’s interface offers a convenient edit list that
displays various image processing adjustments at the same
time, allowing you to make intuitive decisions about what
you want to apply. Because you can visually confirm the
effects as you work, the editing process becomes so much
smoother.

Camera Settings
When you take an original NEF from
your Nikon D-SLR and open it in Capture NX 2, an additional header for
“Camera Settings” will appear. This
tool enables non-destructive changes
to the original NEF, such as adjustments to White Balance, Picture
Control and Noise Reduction. This and
many other NEF and Capture NX 2
abilities realize control never before
possible with image processing
software. That goes for compatibility
as well: NEF files from the first Nikon
D-SLR models are still compatible with today’s Nikon
Capture NX 2. That means the newest tools can be applied
to your oldest NEF files. How could your early digital images
benefit from the latest image processing technology?
Find out, courtesy of Capture NX 2.

Switch fluidly between the four workspaces provided: Browser, Metadata,
Multi-Purpose and Edit — Workspaces can be saved in a palette layout for
reopening later. Various customizable
shortcuts are also available.

Noise Reduction
Color noise, edge noise, and color moiré reduction functions
reduce noise in details without degrading image quality.
<Noise Reduction in the Camera Settings section of the Edit List
can be applied only to RAW (NEF) images.>
Picture Control <RAW (NEF) images captured by a D-SLR only>
If you’re using a Nikon D-SLR model that incorporates Picture
Control settings, then Capture NX 2 can process your images
incorporating all of your Picture Control adjustments. Picture
Control is an exclusive Nikon development that enables refined
control image characteristics such as tonal values, hue and contrast, as well as color space. Up to six different Picture Control
choices are available in-camera and comparable adjustments to
those settings are possible from within Capture NX 2. Create
imaging styles and modify them however you see fit. Each
unique creative touch you make is non-destructive — turn them
on or off with a mouse click — giving you room to experiment
with the peace of mind that your images are being kept safe in
their original state.

This remote shooting application software for studio and field
shooting boasts advanced viewer features and supports the Live
View function incorporated in the cameras. You can remotely
control virtually all functions (exposure mode, shutter speed,
aperture, etc.) of other Nikon D-SLR cameras from a computer
via USB connection. With an optional wireless transmitter and a
compatible camera, a wireless LAN (Wi-Fi) or wired Ethernet connection is possible.
Shooting data can be directly transferred to a computer to enable
remote shooting, transfer and storage of image data and image
viewing in combination with ViewNX 2. Let a client sit and view
your images on a computer wirelessly while you are shooting, or
shoot a wedding while sending images to your computer where
an assistant quickly edits and displays the results for the guests.
Applications like these will make a lasting impression on viewers.

Enables authentication of images captured using compatible
Nikon D-SLR cameras, and determines whether or not such
images have been altered since capture by
separately comparing the image and
image data. Using authentication
information attached at the time of
capture, the software verifies that
image files, including RAW (NEF),
JPEG, and TIFF files, are identical to
the original captured images.

Provides extra command dials, shutter release
button and AE-L/AF-L button for vertical shooting. Runs on one or two EN-EL3e rechargeable
batteries, or six R6/AA-size batteries.

Wireless Transmitter WT-4A/B/C/D/E*1

Wireless Transmitter WT-3/3A*1

for D3 series, D700, D300 series, D7000

for D200

The WT-4A/B/C/D/E supports wireless LAN
conforming to IEEE 802.11b/g, IEEE 802.11a,
and wired LAN conforming to IEEE 802.3u
(100BASE-TX) and IEEE 802.3 (10BASE-T).
Transmission range when wireless LAN is
used is approx. 180 m (IEEE 802.11b/g) or
260 m (IEEE 802.11a). Thumbnail Select
mode permits thumbnail display of images
taken with up to five wirelessly connected
cameras on a computer display. Images
selected by confirming the thumbnail can be
downloaded and saved on the computer.

Wireless Transmitter WT-3/3A enables image
data transfer via wireless LAN (Wi-Fi)*2.
Simply mount one on the bottom of your
camera and connect via USB cable, then any
captured data can be transferred at high
speed. And since they support various network and security protocols, these transmitters are compatible with a wide range of
system environments. Data transfer through
a wired LAN via Ethernet network is also
possible.

*1 Product name varies according to region, depending on local frequency channels available.
*2 Conforming to the IEEE 802.11b/g standard

These rechargeable batteries provide extended life and consistent power, even in colder conditions. Used together with your Nikon D-SLR, the camera’s “fuel gauge” accurately displays
the remaining charge and number of shots since the last charging. The EN-EL4a even gives notice when calibration is necessary.

Quick Charger MH-21

Quick Charger MH-22

Quick Charger MH-18a

Quick Charger MH-23

Battery Charger MH-24

Battery Charger MH-25

for D3 series

for D3 series

for D700, D300 series, D90

for D5000, D3000

for D3100

for D7000

Enables charging of
Rechargeable Li-ion Battery
EN-EL3e.

Enables charging of
Rechargeable Li-ion Battery
EN-EL9a and EN-EL9.

Enables charging of
Rechargeable Li-ion Battery
EN-EL14.

Enables charging of
Rechargeable Li-ion Battery
EN-EL15.

Enables charging of Rechargeable Li-ion Battery EN-EL4a.

20

GPS Cable MC-35

GPS Unit GP-1

for D3 series, D700, D300 series

for D3 series, D700, D300 series, D7000,
D90, D5000, D3100

To be connected to NMEA-O183 protocolcompatible GPS (Global Positioning System)
units such as GARMIN™ and MAGELLAN™
for recording GPS positioning information
and time signals synchronous to UTC
(Universal Coordinated Time) within image
data files during shooting.

With the GP-1 connected to a camera that
supports GPS, you can record location information such as latitude, longitude, altitude
and UTC (Universal Coordinated Time) onto
each image’s EXIF data. The unit can be
mounted on the camera’s accessory shoe or
the camera strap.

21

Viewing Attachment + Your Perspective

Remote Cord + Long Exposure

View with clarity and comfort

Getting the most out of steady tripod shooting

DK-18

Remote Cord
MC-36 (0.85 m)

Remote Cord
MC-30 (0.8 m)

Remote Cord
MC-22 (1 m)

Extension Cord
MC-21 (3 m)

Connecting Cord
MC-23 (0.4 m)

Modulite Remote Control
Set ML-3

for D3 series, D700,
D300 series

for D3 series, D700,
D300 series

for D3 series, D700,
D300 series

for D3 series, D700,
D300 series

for D3 series, D700,
D300 series

for D3 series, D700,
D300 series

Enables remote firing of a
camera, and setting of interval timer and long time exposure. Incorporates an illuminated LCD panel.

Useful for making connections to a shutter-triggering
device, such as those activated by an infrared sensor
to take pictures of wildlife
after dark.

For use with MC-30 or
MC-22.

Connects two cameras for
The ML-3 offers remote
simultaneous or synchronized control of two separate
shutter release.
channels via an infrared LED
beam to enable automatic
camera operation from a
distance of up to 8 m.
Features include auto-triggering and delayed shutter
release, as well as single
and continuous shooting.

Provides an upright, un-reversed image for rightangle viewing. Excellent for copy stand work or
when taking pictures close to the ground or
around a corner. Individual eyesight adjustments
are possible. The DR-5/DR-6 allows you to set the
reproduction ratio to either 1:1 or 1:2.

The DG-2 provides 2x
magnification of the central area of the finder
image. Eyesight adjustment provided. Useful for
critical focusing in closeup photography. Requires
an eyepiece adapter.

Enables attachment of
Eyepiece Magnifier DG-2
to the camera’s eyepiece.
The DK-18 is for cameras
with a circular eyepiece.
The DK-22 is for cameras
with a rectangular eyepiece.

Attached to a camera,
The DK-21M magnifies
the DK-17M magnifies
the finder image by
the finder image approx. approx. 1.17x.
1.2x. Diopter adjustment
range is widened at both
the (+) and (-) sides.

An easy-to-use viewing
and focusing aid which
allows near and farsighted photographers
to view the finder image
accurately without wearing eyeglasses.

Eyepiece Correction
Lenses DK-17C

Antifog Finder
Eyepiece DK-17A

Rubber Eyecup DK-19

Rubber Eyecup DK-20

Rubber Eyecup DK-21

Rubber Eyecup DK-23

Rubber Eyecup DK-24

for D3 series, D700

for D3 series, D700

for D3 series, D700

for D3100, D3000

for D7000 and D90

for D300 series

for D5000

Five correction lenses
from –3 to +2 m-1 for
circular-eyepiece
cameras.

A transparent plastic
optical element with a
special surface coating
to reduce fogging.

Offers unobstructed viewing
and easy focusing over the
entire matte surface. Good for
all general photography.
Type E
for D3 series
Features grid patterns ideal for
copying and architectural photography.

Filters
Neutral Color NC Filters
These filters serve as lens protectors and do not affect
color balance. Multilayer coating diminishes internal
reflections and improves color rendition. Available in
sizes 52/58/62/67/72/77 mm.
Circular Polarizing Filters II
These filters enable shooting through glass windows
and minimize glare from reflective surfaces such as
water and glass. They also enhance the appearance of
blue skies. Compatible with both color and monochrome
photography. Available in sizes 52/58/62/67/72/77 mm.
Soft Focus Filters
Give your images a moderately soft and beautiful blur
effect. Good for various shooting situations, such as
portrait. Available in sizes 52/62/67/72/77 mm.

Slip-in Circular Polarizing Filters
Designed for use with telephoto lenses
that provide a slip-in filter holder, these
filters reduce glare from non-metallic
surfaces such as glass and water. Simply
turn the rotating ring on the holder to find
the most effective position. These filters do not affect
autofocus or auto exposure operation. Both the C-PL1L
and C-PL3L feature a diameter of 52 mm.
Gelatin Filter Holders AF-3, AF-4
These holders accommodate gelatin or glass filters to
a thickness of approx. 2 mm. The AF-3 is used with
3-inch square gelatin filters and NIKKOR lenses having
an attachment size of 52/62/67/72/77 mm. The AF-4 is
used with 4-inch square gelatin filters and NIKKOR
lenses having an attachment size of
52/62/67/72/77/82/95 mm. Nikon also offers
two dedicated hood options — the
HN-36 for the AF-3 and the HN-37 for
the AF-4. Several hoods of the same
diameter can be stacked, depending
on the focal length of the lens in use.
AF-3

Attaches to the PB-6 for
an astounding magnification of 23x life-size when
using a 20mm wide-angle
lens in reverse position.
With this combination,
the continuously variable
extension range is from
83 mm to 438 mm.

Used with the PB-6 and a
NIKKOR lens to make
duplicate slides. Cropping
of the original slide is
possible.

Enables reversemounting of lenses. The
BR-2A also increases
the working distance
for normal or wideangle lenses.
Compatible with lenses
having a 52 mm-sized
front attachment.

A handy adapter that
converts the bayonet
mount of reverse
mounted lenses to the
52 mm thread used for
filters and hoods.

Use one or multiple extension rings for further
creative capabilities. An AI NIKKOR will retain
automatic diaphragm and meter coupling functions, letting you compose, focus and meter at a
wide-open apertures. The rings can also be used
for manual exposure control (Exposure meter
does not work with D90, D5000, D3100 and
D3000).

Attaches to the end of
the PB-6 to convert it into
a smaller stand ideal for
copying documents or for
use in scientific and
medical specimen
photography.